A Second Book of Operas Part 8

In the winter of 1902-1903 Signor Mascagni was in the United States for the purpose of conducting performances of some of his operas and giving concerts. The company of singers and instrumentalists which his American agents had a.s.sembled for his purpose was, with a few exceptions, composed of the usual operatic flotsam and jetsam which can be picked up at any time in New York. The enterprise began in failure and ended in scandal. There had been no adequate preparation for the operas announced, and one of them was not attempted.

This was "Ratcliff." "Cavalleria rusticana," "Zanetto," and "Iris" were poorly performed at the Metropolitan Opera House in October, and an attempt at Sunday night concerts was made. Signor Mascagni's countrymen labored hard to create enthusiasm for his cause, but the general public remained indifferent. Having failed miserably in New York, Mascagni, heavily burdened with debt, went to Boston. There he was arrested for breach of contract. He retaliated with a suit for damages against his American managers. The usual amount of crimination and recrimination followed, but eventually the difficulties were compounded and Mascagni went back to his home a sadly disillusionized man. [Footnote: The story of this visit is told in greater detail in my "Chapters of Opera," as is also the story of the rivalry among American managers to be first in the field with "Cavalleria rusticana."]

"Zanetto" was produced along with "Cavalleria rusticana" at the Metropolitan Opera House on October 8, 1902, and "Iris" on October 16.

Signor Mascagni conducted and the parts were distributed as follows among the singers of the company: Iris, Marie Farneti; Osaka, Pietro Schiavazzi; Kyoto, Virgilio Bollati; Il Cieco, Francesco Navarrini; Una Guecha, Dora de Filippe; Un Mercianola, Pasquale Blasio; Un Cencianola, Bernardino Landino. The opera was not heard of again until the season of 1907-1908, when, just before the end of the administration of Heinrich Conried, it was incorporated into the repertory of the Metropolitan Opera House apparently for the purpose of giving Mme. Emma Eames an opportunity to vie with Miss Geraldine Farrar in j.a.panese opera.

CHAPTER XI

"IRIS"

"Light is the language of the eternal ones--hear it!" proclaims the librettist of "Iris" in that portion of his book which is neither said nor sung nor played. And it is the sun that sings with divers voices after the curtain has risen on a nocturnal scene, and the orchestra has sought to depict the departure of the night, the break of day, the revivification of the flowers and the sunrise. As Byron sang of him, so Phoebus Apollo celebrates himself as "the G.o.d of life and poetry and light," but does not stop there. He is also Infinite Beauty, Cause, Reason, Poetry, and Love. The music begins with an all but inaudible descending pa.s.sage in the ba.s.ses, answered by sweet concordant harmonies. A calm song tells of the first streaks of light; woodwind and harp add their voices; a mellifluous hymn chants the stirring flowers, and leads into a rhythmically, more incisive, but still sustained, orchestral song, which bears upon its surface the choral proclamation of the sun: "I am! I am life! I am Beauty infinite!" The flux and reflux of the instrumental surge grows in intensity, the music begins to glow with color and pulsate with eager life, and reaches a mighty sonority, gorged with the crash of a mult.i.tude of tamtams, cymbals, drums, and bells, at the climacteric reiteration of "Calore!

Luce! Amor!" The piece is thrillingly effective, but as little operatic as the tintinnabulatory chant of the cherubim in the prologue of Boito's "Mefistofele."

And now allegory makes room for the drama. To the door of her cottage, embowered on the banks of a quiet stream, comes Iris. The peak of Fujiyama glows in the sunlight. Iris is fair and youthful and innocent.

A dream has disturbed her. "Gorgons and Hydras and Chimaeras dire" had filled her garden and threatened her doll, which she had put to sleep under a rose-bush. But the sun's rays burst forth and the monsters flee. She lifts her doll and moves its arms in mimic salutation to the sun. Osaka, a wealthy rake, and Kyoto, a pander, play spy on her actions, gloat on her loveliness and plot to steal her and carry her to the Yos.h.i.+wara. To this end they go to bring on a puppet show, that its diversion may enable them to steal her away without discovery. Women come down to the banks of the river and sing pretty metaphors as they wash their basketloads of muslins. Gradually the music of samisens, gongs, and drums approaches. Osaka and Kyoto have disguised themselves as travelling players, gathered together some geishas and musicians, and now set up a marionette theatre. Iris comforts her blind father, the only object of her love, besides her doll, and promises to remain at his side. The puppet play tells the story of a maiden who suffers abuse from a cruel father, who threatens to sell her to a merchant.

Iris is much affected by the sorrows of the puppet. The voice of Jor, the son of the sun, is heard--it is Osaka, singing without. The melody is the melody of Turridu's Siciliano, but the words are a promise of a blissful, kissful death and thereafter life everlasting. The puppet dies and with Jor dances off into Nirvana. Now three geishas, representing Beauty, Death, and the Vampire, begin a dance. Kyoto distracts the attention of the spectators while the dancers flaunt their skirts higher and wider until their folds conceal Iris, and Osaka's hirelings seize her and bear her off toward the city. Kyoto places a letter and money at the cottage door for the blind father.

Through a pedler and the woman he learns that his daughter is gone to be an inmate of the Yos.h.i.+wara. He implores the people who had been jeering him to lead him thither, that he may spit in her face and curse her.

Iris is asleep upon a bed in the "Green House" of the district, which needs no description. A song, accompanied by the tw.a.n.ging of a samisen and the clanging of tamtams, is sung by three geishas. Kyoto brings in Osaka to admire her beauty, and sets a high price upon it. Osaka sends for jewels. Iris awakes and speculates in philosophical vein touching the question of her existence. She cannot be dead, for death brings knowledge and paradise joy; but she weeps. Osaka appears. He praises her rapturously--her form, her hair, her eyes, her mouth, her smile.

Iris thinks him veritably Jor, but he says his name is "Pleasure." The maiden recoils in terror. A priest had taught her in an allegory that Pleasure and Death were one! Osaka loads her with jewels, fondles her, draws her to his breast, kisses her pa.s.sionately. Iris weeps. She knows nothing of pa.s.sion, and longs only for her father, her cottage, and her garden. Osaka wearies of his guest, but Kyoto plans to play still further upon his l.u.s.t. He clothes her in richer robes, but more transparent, places her upon a balcony, and, withdrawing a curtain, exhibits her beauty to the mult.i.tude in the street. Amazed cries greet the revelation. Osaka returns and pleads for her love.

"Iris!" It is the cry of the blind man hunting the child whom he thinks has sold herself into disgraceful slavery. The crowd falls back before him, while Iris rushes forward to the edge of the veranda and cries out to him, that he may know her presence. He gathers a handful of mud from the street and hurls it in the direction of her voice. "There! In your face! In your forehead! In your mouth! In your eyes! Fango!" Under the imprecations of her father the mind of Iris gives way. She rushes along a corridor and hurls herself out of a window.

The third act is reached, and drama merges again into allegory. In the wan light of the moon rag-pickers, men and women, are dragging their hooks through the slimy muck that flows through the open sewer beneath the fatal window. They sing mockingly to the moon. A flash of light from Fujiyama awakens a glimmer in the filth. Again. They rush forward and pull forth the body of Iris and begin to strip it of its adornments. She moves and they fly in superst.i.tious fear. She recovers consciousness, and voices from invisible singers, tell her of the selfish inspirations of Osaka, Kyoto, and her blind father; Osaka's desire baffled by fate--such is life! Kyoto's slavery to pleasure and a hangman's reward;--such is life! The blind man's dependence on his child for creature comforts;--such is life! Iris bemoans her fate as death comes gently to her. The sky grows rosy and the light brings momentary life. She stretches out her arms to the sun and acclaims the growing orb. As once upon Ida--

Glad earth perceives and from her bosom pours Unbidden herbs and voluntary flow'rs!

A field of blossoms spreads around her, into which she sinks, while the sun, again many-voiced and articulate, chants his glory as in the beginning.

The story is perhaps prettier in the telling than in the performance.

What there is in its symbolism and its poetical suggestion that is ingratiating is more effective in the fancy than in the experience.

There are fewer clogs, fewer stagnant pools, fewer eddies which whirl to no purpose. In the modern school, with its distemper music put on in splotches, there must be more merit and action. Psychological delineation in music which stimulates action, or makes one forget the want of outward movement, demands a different order of genius than that which Signor Mascagni possesses. Mere talent for artful device will not suffice. There are many effective bits of expressive writing in the score of "Iris," but most of them are fugitive and aim at coloring a word, a phrase, or at best a temporary situation. There is little flow of natural, fervent melody. What the composer accomplished with tune, characteristic but fluent, eloquent yet sustained, in "Cavalleria rusticana," he tries to achieve in "Iris" with violent, disjointed, s.h.i.+fting of keys and splashes of instrumental color. In this he is seldom successful, for he is not a master of orchestral writing--that technical facility which nearly all the young musicians have in the same degree that all pianists have finger technic. His orchestral stream is muddy; his effects generally cra.s.s and empty of euphony. He throws the din of outlandish instruments of percussion, a battery of gongs, big and little, drums, and cymbals into his score without achieving local color. Once only does he utilize it so as to catch the ears and stir the fancy of his listeners--in the beginning of the second act, where there is a murmur of real j.a.panese melody. As a rule, however, Signor Mascagni seems to have been careless in the matter of local color, properly so, perhaps, for, strictly speaking, local color in the lyric drama is for comedy with its petty limitations, not for tragedy with its appeal to large and universal pa.s.sions. Yet it is in the lighter scenes, the scenes of comedy, like the marionette show, the scenes of mild pathos, like the monologues of Iris, and the scenes of mere accessory decoration, like that of the laundresses, the mousmes in the first act, with its purling figure borrowed from "Les Huguenots"

and its unnecessarily uncanny col legno effect conveyed from "L'Africaine" that it is most effective.

CHAPTER XII

"MADAMA b.u.t.tERFLY"

This is the book of the generation of "Madama b.u.t.terfly": An adventure in j.a.pan begat Pierre Loti's "Madame Chrysantheme"; "Madame Chrysantheme" begat John Luther Long's "Madame b.u.t.terfly," a story; "Madame b.u.t.terfly," the story, begat "Madame b.u.t.terfly," a play by David Belasco; "Madame b.u.t.terfly," the play, begat "Madama b.u.t.terfly,"

the opera by Giacomo Puccini. The heroine of the roving French romanticist is therefore seen in her third incarnation in the heroine of the opera book which L. Illica and G. Giacosa made for Puccini. But in operatic essence she is still older, for, as Dr. Korngold, a Viennese critic, pointed out, Selica is her grandmother and Lakme her cousin.

Even this does not exhaust her family history; there is something like a bar sinister in her escutcheon. Mr. Belasco's play was not so much begotten, conceived, or born of admiration for Mr. Long's book as it was of despair wrought by the failure of another play written by Mr.

Belasco. This play was a farce ent.i.tled "Naughty Anthony," created by Mr. Belasco in a moment of aesthetic aberration for production at the Herald Square Theatre, in New York, in the spring of 1900. Mr. Belasco doesn't think so now, but at the time he had a notion that the public would find something humorous and attractive in the spectacle of a popular actress's leg swathed in several layers of stocking. So he made a show of Blanche Bates. The public refused to be amused at the farcical study in comparative anatomy, and when Mr. Belasco's friends began to fault him for having pandered to a low taste, and he felt the smart of failure in addition, he grew heartily ashamed of himself. His affairs, moreover, began to take on a desperate aspect; the season threatened to be a ruinous failure, and he had no play ready to subst.i.tute for "Naughty Anthony." Some time before a friend had sent him Mr. Long's book, but he had carelessly tossed it aside. In his straits it came under his eyes again, and this time he saw a play in it--a play and a promise of financial salvation. It was late at night when he read the story, but he had come to a resolve by morning and in his mind's eye had already seen his actors in j.a.panese dress. The drama lay in the book snugly enough; it was only necessary to dig it out and materialize it to the vision. That occupation is one in which Mr.

Belasco is at home. The dialogue went to his actors a few pages at a time, and the pictures rose rapidly in his mind. Something different from a stockinged leg now!

Glimpses of Nippon--its mountains, waters, bridges, flowers, gardens, geishas; as a foil to their grace and color the prosaic figures of a naval officer and an American Consul. All things tinged with the bright light of day, the glories of sunset or the super-glories of sunrise. We must saturate the fancy of the audience with the atmosphere of j.a.pan, mused Mr. Belasco. Therefore, j.a.panese scenes, my painter! Electrician, your plot shall be worked out as carefully as the dialogue and action of the play's people. "First drop discovered; house-lights down; white foots with blue full work change of color at back of drop; white lens on top of mountain; open light with white, straw, amber, and red on lower part of drop; when full on lower footlights to blue," and so on.

Mr. Belasco's emotions, we know, find eloquent expression in stage lights. But the ear must be carried off to the land of enchantment as well as the eye. "Come, William Furst, recall your experiences on the Western coast. For my first curtain I want a quaint, soft j.a.panese melody, pp--you know how!"

And so "Madame b.u.t.terfly," the play, was made. In two weeks all was ready, and a day after the first performance at the Herald Square Theatre, on March 5, 1900, the city began to hum with eager comment on the dramatic intensity of the scene of a j.a.panese woman's vigil, of the enthralling eloquence of a motionless, voiceless figure, looking steadily through a hole torn through a paper part.i.tion, with a sleeping child and a nodding maid at her feet, while a mimic night wore on, the lanterns on the floor flickered out one by one and the soft violins crooned a melody to the arpeggios of a harp.

The season at the Herald Square Theatre was saved. Some time later, when Mr. Belasco accompanied Mr. Charles Frohman to London to put on "Zaza" at the Garrick Theatre, he took "Madame b.u.t.terfly" with him and staged it at the Duke of York's Theatre, hard by. On the first night of "Madame b.u.t.terfly" Mr. Frohman was at the latter playhouse, Mr. Belasco at the former. The fall of the curtain on the little j.a.panese play was followed by a scene of enthusiasm which endured so long that Mr.

Frohman had time to summon his colleague to take a curtain call. At a stroke the pathetic play had made its fortune in London, and, as it turned out, paved the way for a new and larger triumph for Mr. Long's story. The musical critics of the London newspapers came to the house and saw operatic possibilities in the drama. So did Mr. Francis Nielson, at the time Covent Garden's stage manager, who sent word of the discovery to Signor Puccini. The composer came from Milan, and realized on the spot that the successor of "Tosca" had been found.

Signori Illica and Giacosa, librettists in ordinary to Ricordi & Co., took the work of making the opera book in hand. Signor Illica's fancy had roamed in the Land of Flowers before; he had written the libretto for Mascagni's "Iris." The ephemeral life of Cho-Cho-San was over in a few months, but by that time "Madama b.u.t.terfly," glorified by music, had lifted her wings for a new flight in Milan.

It is an old story that many operas which are recognized as masterpieces later, fail to find appreciation or approval when they are first produced. "Madama b.u.t.terfly" made a fiasco when brought forward at La Scala on February 17, 1904.

[Footnote: At this premiere Campanini was the conductor and the cast was as follows: b.u.t.terfly, Storchio; Suzuki, Giaconia; Pinkerton, Zenatello; Sharpless, De Luca; Goro, Pini-Corsi; Bonzo, Venturini; Yakuside, Wulmann. At the first performance in London, on July 10, 1905, at Covent Garden, the cast was: b.u.t.terfly, Destinn; Suzuki, Lejeune; Pinkerton, Caruso; Sharpless, Scotti; Goro, Dufriche; Bonzo, Cotreuil; Yakuside, Rossi. Conductor, Campanini. After the revision it was produced at Brescia on May 28, 1904, with Zenatello, of the original cast, Krusceniski as b.u.t.terfly, and Bellati as Sharpless. The first American performances were in the English version, made by Mrs.

B. H. Elkin, by the Savage Opera Company, which came to the Garden Theatre, New York, after a trial season in Was.h.i.+ngton, on November 12, 1906. It had a run of nearly three months before it reached the Metropolitan Opera House, on February 11, 1907. Mr. Walter Rothwell conducted the English performance, in which there were several changes of casts, the original b.u.t.terfly being Elza Szamozy (a Hungarian singer); Suzuki, Harriet Behne; Pinkerton, Joseph F. Sheehan, and Sharpless, Winifred Goff. Arturo Vigna conducted the first Italian performance at the Metropolitan, with Geraldine Farrar as b.u.t.terfly, Louise Homer as Suzuki, Caruso as Pinkerton, Scotti as Sharpless, and Albert Reiss as Goro.]

So complete was the fiasco that in his anxiety to withdraw the work Signer Puccini is said to have offered to reimburse the management of the theatre for the expenditures entailed by the production. Failures of this kind are frequently inexplicable, but it is possible that the unconventional character of the story and the insensibility of the Italians to national musical color other than their own, had a great deal to do with it in this case. Whatever the cause, the popular att.i.tude toward the opera was displayed in the manner peculiar to Italy, the discontented majority whistling, shrilling on house keys, grunting, roaring, bellowing, and laughing in the good old-fas.h.i.+oned manner which might be set down as possessed of some virtuous merit if reserved for obviously stupid creations.

"The Pall Mall Gazette" reported that at the time the composer told a friend that on this fateful first night he was shut up in a small room behind the scenes, where he could hear nothing of what was going on on the stage or in the audience-room. On a similar occasion, nearly a century before, when "The Barber of Seville" scored an equally monumental failure, Rossini, in the conductor's chair, faced the mob, shrugged his shoulders, and clapped his hands to show his contempt for his judges, then went home and composedly to bed. Puccini, though he could not see the discomfiture of his opera, was not permitted to remain in ignorance of it. His son and his friends brought him the news. His collaborator, Giacosa, rushed into the room with dishevelled hair and staring eyes, crying: "I have suffered the pa.s.sion of death!"

while Signorina Storchio burst into such a flood of tears and sobs that it was feared she would be ill. Puccini was cut to the heart, but he did not lose faith in the work. He had composed it in love and knew its potentialities, His faith found justification when he produced it in Brescia three months later and saw it start out at once on a triumphal tour of the European theatres. His work of revision was not a large or comprehensive one. He divided the second act into two acts, made some condensations to relieve the long strain, wrote a few measures of introduction for the final scene, but refused otherwise to change the music. His fine sense of the dramatic had told him correctly when he planned the work that there ought not to be a physical interruption of the pathetic vigil out of which Blanche Bates in New York and Evelyn Millard in London had made so powerful a scene, but he yielded to the compulsion of practical considerations, trying to save respect for his better judgment by refusing to call the final scene an act, though he permitted the fall of the curtain; but nothing can make good the loss entailed by the interruption. The mood of the play is admirably preserved in the music of the intermezzo, but the mood of the listeners is hopelessly dissipated with the fall of the curtain. When the scene of the vigil is again disclosed, the charm and the pathos have vanished, never to return. It is true that a rigid application of the law of unities would seem to forbid that a vigil of an entire night from eve till morning be compressed into a few minutes; but poetic license also has rights, and they could have been pleaded with convincing eloquence by music, with its marvellous capacity for publis.h.i.+ng the conflicting emotions of the waiting wife.

His s.h.i.+p having been ordered to the Asiatic station, Benjamin Franklin Pinkerton, Lieutenant in the United States Navy, follows a custom (not at all unusual among naval officers, if Pierre Loti is to be believed) and for the summer sojourn in j.a.pan leases a j.a.panese wife. (The word "wife" is a euphemism for housekeeper, companion, play-fellow, mistress, what not.) This is done in a manner involving little ceremony, as is known to travellers and others familiar with the social customs of Nippon, through a nakodo, a marriage broker or matrimonial agent. M. Loti called his man Kangourou; Mr. Long gave his the name of Goro. That, however, and the character of the simple proceeding before a registrar is immaterial. M. Loti, who a.s.sures us that his book is merely some pages from a veritable diary, entertains us with some details preliminary to his launch into a singular kind of domestic existence, which are interesting as bearing on the morals of the opera and as indicative of the fact that he is a closer observer of Oriental life than his American confrere. He lets us see how merchantable "wives" are chosen, permits M. Kangourou to exhibit his wares and expatiate on their merits. There is the daughter of a wealthy China merchant, a young woman of great accomplishments who can write "commercially" and has won a prize in a poetic contest with a sonnet.

She is, consequently, very dear--100 yen, say $100--but that is of no consequence; what matters is that she has a disfiguring scar on her cheek. She will not do. Then there is Mlle. Jasmin, a pretty girl of fifteen years, who can be had for $18 or $20 a month (contract cancellable at the end of any month for non-payment), a few dresses of fas.h.i.+onable cut and a pleasant house to live in. Mlle. Jasmin comes to be inspected with one old lady, two old ladies, three old ladies (mamma and aunts), and a dozen friends and neighbors, big and little. Loti's moral stomach revolts at the thought of buying for his uses a child who looks like a doll, and is shocked at the public parade which has been made of her as a commodity. He has not yet been initiated into some of the extraordinary customs of j.a.pan, nor yet into some of the distinctions attendant upon those customs. He learns of one of the latter when he suggests to the broker that he might marry a charming geisha who had taken his fancy at a tea house. The manner in which the suggestion was received convinced him that he might as well have purposed to marry the devil himself as a professional dancer and singer. Among the train of Mlle. Jasmin's friends is one less young than Mlle. Jasmin, say about eighteen, and already more of a woman; and when Loti says, "Why not her?" M. Kangourou trots her out for inspection and, discreetly sending Loti away, concludes the arrangement between night-fall and 10 o'clock, when he comes with the announcement: "All is arranged, sir; her parents will give her up for $20 a month--the same price as Mlle. Jasmin."

So Mlle. Chrysantheme became the wife of Pierre Loti during his stay at Nagasaki, and then dutifully went home to her mother without breaking her heart at all. But she was not a geisha, only a mousme--"one of the prettiest words in the Nipponese language," comments M. Loti, "it seems almost as if there must be a little moue in the very sound, as if a pretty, taking little pout, such as they put on, and also a little pert physiognomy, were described by it."

Lieutenant Pinkerton, equally ignorant with Lieutenant Loti but uninstructed evidently, marries a geisha whose father had made the happy dispatch at the request of the Son of Heaven after making a blunder in his military command. She is Cio-Cio-San, also Madama b.u.t.terfly, and she comes to her wedding with a bevy of geishas or mousmes (I do not know which) and a retinue of relations. All enjoy the hospitality of the American officer while picking him to pieces, but turn from their kinswoman when they learn from an uncle, who is a Buddhist priest and comes late to the wedding like the wicked fairy in the stories, that she has attended the Mission school and changed her religion. Wherefore the bonze curses her: "Hou, hou! Cio-Cio-San, hou, hou!"

Sharpless, United States Consul at Nagasaki, had not approved of Pinkerton's adventure, fearing that it might bring unhappiness to the little woman; but Pinkerton had laughed at his scruples and emptied his gla.s.s to the marriage with an American wife which he hoped to make some day. Neither Loti nor Long troubles us with the details of so prosaic a thing as the marriage ceremony; but Puccini and his librettists make much of it, for it provides the only opportunity for a chorus and the musician had found delightfully mellifluous j.a.panese gongs to add a pretty touch of local color to the music. Cio-Cio-San has been "outcasted" and Pinkerton comforts her and they make love in the starlight (after b.u.t.terfly has changed her habiliments) like any pair of lovers in Italy. "Dolce notte! Quante stelle! Vieni, vieni!" for quant.i.ty.

This is the first act of the opera, and it is all expository to Belasco's "Tragedy of j.a.pan," which plays in one act, with the pathetic vigil separating the two days which form its period of action. When that, like the second act of the opera, opens, Pinkerton has been gone from Nagasaki and his "wife" three years, and a baby boy of whom he has never heard, but who has his eyes and hair has come to bear b.u.t.terfly company in the little house on the hill. The money left by the male b.u.t.terfly when he flitted is all but exhausted. Madama b.u.t.terfly appears to be lamentably ignorant of the customs of her country, for she believes herself to be a wife in the American sense and is fearfully wroth with Suzuki, her maid, when she hints that she never knew a foreign husband to come back to a j.a.panese wife. But Pinkerton when he sailed away had said that he would be back "when the robins nest again," and that suffices Cio-Cio-San. But when Sharpless comes with a letter to break the news that his friend is coming back with an American wife, he loses courage to perform his mission at the contemplation of the little woman's faith in the truant. Does he know when the robins nest in America? In j.a.pan they had nested three times since Pinkerton went away. The consul quails at that and d.a.m.ns his friend as a scoundrel. Now Goro, who knows b.u.t.terfly's pecuniary plight, brings Yamadori to her. Yamadori is a wealthy j.a.panese citizen of New York in the book and play and a prince in the opera, but in all he is smitten with b.u.t.terfly's beauty and wants to add her name to the list of wives he has conveniently married and as conveniently divorced on his visits to his native land. b.u.t.terfly insists that she is an American and cannot be divorced j.a.panese fas.h.i.+on, and is amazed when Sharpless hints that Pinkerton might have forgotten her and she would better accept Yamadori's hand.

First she orders him out of the house, but, repenting her of her rudeness, brings in the child to show him something that no one is likely to forget. She asks the consul to write to his friend and tell him that he has a son, so fine a son, indeed, that she indulges in a day dream of the Mikado stopping at the head of his troops to admire him and make him a prince of the realm. Sharpless goes away with his mission unfulfilled and Suzuki comes in dragging Goro with her, for that he had been spreading scandalous tales about the treatment which children born like this child receive in America. b.u.t.terfly is tempted to kill the wretch, but at the last is content to spurn him with her foot.

At this moment a cannon shot is heard. A man-of-war is entering the harbor. Quick, the gla.s.ses! "Steady my hand, Suzuki, that I may read the name." It is the Abraham Lincoln, Pinkerton's s.h.i.+p! Now the cherry tree must give up its every blossom, every bush or vine its violets and jessamines to garnish the room for his welcome! The garden is stripped bare, vases are filled, the floor is strewn with petals. Perfumes exhale from the voices of the women and the song of the orchestra. Here local color loses its right; the music is all Occidental. b.u.t.terfly is dressed again in her wedding gown of white and her pale cheeks are touched up with carmine. The paper part.i.tions are drawn against the night. b.u.t.terfly punctures the shoji with three holes--one high up for herself to look through, standing; one lower for the maid to look through, sitting; one near the floor for the baby. And so b.u.t.terfly stands in an all-night vigil. The lanterns flicker and go out. Maid and babe sink down in sleep. The gray dawn creeps over the waters of the harbor. Human voices, transformed into instruments, hum a barcarolle.

(We heard it when Sharpless tried to read the letter.) A j.a.panese tune rises like a sailors' chanty from the band. Mariners chant their "Yo ho!" Day is come. Suzuki awakes and begs her mistress to seek rest.

b.u.t.terfly puts the baby to bed, singing a lullaby. Sharpless and Pinkerton come and learn of the vigil from Suzuki, who sees the form of a lady in the garden and hears that it is the American wife of Pinkerton. Pinkerton pours out his remorse melodiously. He will be haunted forever by the picture of his once happy home and Cio-Cio-San's reproachful eyes. He leaves money for b.u.t.terfly in the consul's hands and runs away like a coward. Kate, the American wife, and Suzuki meet in the garden. The maid is asked to tell her mistress the meaning of the visit, but before she can do so b.u.t.terfly sees them. Her questions bring out half the truth; her intuition tells her the rest. Kate (an awful blot she is on the dramatic picture) begs forgiveness and asks for the baby boy that her husband may rear him. b.u.t.terfly says he shall have him in half an hour if he will come to fetch him. She goes to the shrine of Buddha and takes from it a veil and a dagger, reading the words engraved on its blade: "To die with honor when one can no longer live with honor." It is the weapon which the Mikado had sent to her father. She points the weapon at her throat, but at the moment Suzuki pushes the baby into the room. b.u.t.terfly addresses it pa.s.sionately; then, telling it to play, seats it upon a stool, puts an American flag into its hands, a bandage around its eyes. Again she takes dagger and veil and goes behind a screen. The dagger is heard to fall. b.u.t.terfly totters out from behind the screen with a veil wound round her neck.

She staggers to the child and falls, dying, at its feet. Pinkerton rushes in with a cry of horror and falls on his knees, while Sharpless gently takes up the child.

I have no desire to comment disparagingly upon the denouement of the book of Mr. Long or the play of Mr. Belasco which Puccini and his librettists followed; but in view of the origin of the play a bit of comparative criticism seems to be imperative. Loti's "Madame Chrysantheme" was turned into an opera by Andre Messager. What the opera was like I do not know. It came, it went, and left no sign; yet it would seem to be easy to guess at the reason for its quick evanishment. If it followed the French story, as no doubt it did, it was too faithful to the actualities of j.a.panese life to awaken a throb of emotion in the Occidental heart. Without such a throb a drama is naught--a sounding bra.s.s and tinkling cymbal. The charm of Loti's book lies in its marvellously beautiful portrayal of a country, a people, and a characteristic incident in the social life of that people. Its interest as a story, outside of the charm of its telling, is like that excited by inspection of an exotic curio. In his dedication of the book the author begged Mme. la d.u.c.h.esse de Richelieu not to look for any meaning in it, but to receive it in the same spirit in which she would receive "some quaint bit of pottery, some grotesque carved ivory idol, or some preposterous trifle brought back from the fatherland of all preposterousness." It is a record of a bit of the wandering life of a poet who makes himself a part of every scene into which fortune throws him. He has spent a summer with a j.a.panese mousme, whom he had married j.a.panese fas.h.i.+on, and when he has divorced her, also in j.a.panese fas.h.i.+on, with regard for all the conventions, and sailed away from her forever, he is more troubled by thoughts of possible contamination to his own nature than because of any consequences to the woman. Before the final farewell he had felt a touch of pity for the "poor little gypsy," but when he mounted the stairs to her room for the last time he heard her singing, and mingled with her voice was a strange metallic sound, dzinn, dzinn! as of coins ringing on the floor. Is she amusing herself with quoits, or the jeu du c.r.a.paud, or pitch and toss? He creeps in, and there, dressed for the departure to her mother's, sitting on the floor is Chrysantheme; and spread out around her all the fine silver dollars he had given her according to agreement the night before. "With the competent dexterity of an old money changer she fingers them, turns them over, throws them on the floor, and armed with a little mallet ad hoc, rings them vigorously against her ear, singing the while I know not what little pensive, birdlike song, which I dare say she improvises as she goes along. Well, after all, it is even more completely j.a.panese than I could possibly have imagined it--this last scene of my married life! I feel inclined to laugh." And he commends the little gypsy's worldly wisdom, offers to make good any counterfeit piece which she may find, and refuses to permit her to see him go aboard of his s.h.i.+p. She does, nevertheless, along with the j.a.panese wives of four of his fellow officers, who peep at their flitting husbands through the curtains of their sampans. But when he is far out on the great Yellow Sea he throws the faded lotus flowers which she had given him through the porthole of his cabin, making his best excuses for "giving to them, natives of j.a.pan, a grave so solemn and so vast"; and he utters a prayer: "O Ama-Terace-Omi-Kami, wash me clean from this little marriage of mine in the waters of the river of Kamo!"

The story has no soul, and to give his story, which borrowed its motive from Loti's, a soul, Mr. Long had to do violence to the verities of j.a.panese life. Yet might not even a geisha feel a genuine pa.s.sion?